Born Detroit, 1983 / BFA, College for Creative Studies; MFA, Hunter College, New York / Lives in Detroit
Picture, if you will, an archaeologist. Is your imagined archaeologist mucking about in the dirt somewhere? Probably she’s got a trowel and a brush, and is dusting off a mysterious object disinterred from the depths of the earth. What, exactly, is the object she’s holding in her hand? More likely than not, it is a shard of ancient pottery.
Ceramics carry a whiff of the ancient. Much of what we know of our lost progenitors comes to us by way of their broken pots. The history of humanity is partly the history of people making things from dirt and clay.
The art of Kylie Lockwood (who teaches at the College for Creative Studies and helps run Cave Gallery) resonates with this ancient history. Many of the art objects she’s created over the years look like they might have been discovered during an archaeological dig or stolen from a museum of antiquities in some little-known Mediterranean town.
Born 1951, Ann Arbor, MI / BA, Calvin College, Grand Rapids, MI; MFA, Wayne State University / Lives in Grosse Pointe Farms
What do an oscillating fan and a Josef Albers “square” have in common? Nothing. Nothing at all. They aren’t even in the same category of things. A fan is a fan, a practical object in the world. An Albers square, by contrast, is a study in color and shape. It’s an abstract work of art that has no obvious purpose.
So why did Timothy van Laar make a painting (Fan, 2009) that consists precisely of one fan and one Albers square? Van Laar, who is currently the Chair of Fine Arts at the College for Creative Studies was, for thirty-two years, a professor of art at the University of Illinois at Urbana-Champaign. He’s also published three books on art. Van Laar has been thinking about and making art for more than forty years. Surely, then, he put these two strange items together in one painting for some reason.
Morgan Meis writes about art and culture for such magazines as The New Yorker, n+1, Harper’s Magazine, and Slate. He founded an arts collective in New York City called Flux Factory, was the editor of the Graduate Faculty Philosophy Journal at The New School, and is currently an editor at 3Quarksdaily. He was critic-at-large for The Smart Set from 2007-2015 and is a contributor at The New Yorker. He taught classes on art and philosophy of art at Drexel University and Moore College of Art and Design and at CCS currently.